The author, a prize-winning cowboy poet, delivers the reality of the West through this, his third collection of original western and cowboy poetry. His work is pointed toward remembering, preserving, sharing, and celebrating our western and cowboy heritage and traditions. The poems are drawn, primarily, from his experience as a young cowboy in the Sandhills of Nebraska in the 1930's and 1940's. They are also influenced by his pre-teen acquaintance with Badger Clark, the classic cowboy poet, who was then Poet Laureate of South Dakota.

This book discusses the ways in which Westerners, from the earliest times until the late 1980s, have perceived China--both the China of their own time and the China of the past. Examining sources from all media, the author demonstrates the enormous variety in Western images of China over the centuries--at certain times China has constituted a model for schools of thought in the West, while at others the country has been viewed as a threat.

Presents a collection of art that showcases visual tropes of masters with their adoring slaves and Africans as victims and individuals.

Orientalism is about much more than just information gathered about the East within its general postcolonial period. In this period, orientalism is a Western discourse that dominated and shaped the view of the East. There is “otherization” in the way the West has historically looked at the East and within the information presented about it. These original stories of travelers in the past and previous telling about the East are facing a reconstruction through modern types of media. Cinema, television, news, newspaper, magazine, internet, social media, photography, literature, and more are transforming the way the East is presented and viewed. Under the headings of post-orientalism, neo-orientalism, or self-orientalism, these new orientalist forms of work in combination with both new and traditional media are redefining orientalism in the media and beyond. The Handbook of Research on Contemporary Approaches to Orientalism in Media and Beyond shows how both new media and traditional media deal with orientalism today through the presentation of gender, race, religion, and culture that make up orientalist theory. The chapters focus on how orientalism is presented in the media, cinema, TV, photography, and more. This book is ideal for communications theorists, media analysts, practitioners, researchers, academicians, and students working in fields that include mass media, communications, film studies, ethnic studies, history, sociology, and cultural studies.

How have Westerners seen the People's Republic of China over the years? The question raises many important issues, which this book aims to present, analyze and explain. The basic conclusion is that Western perspectives are somewhat more complex than simply viewing China's realities. Involved also are politics and power relations, trends in journalism and scholarship, as well as individual and group personalities and psychologies.Based on extensive personal experiences in China dating back to 1964 and wide-ranging travel in Tibet and ethnic regions since the 1980s, the author attempts to distinguish trends in different Western countries. However, most of the material will concern the United States, which has been the dominant contributor to Western perspectives during the whole period of concern to this book.The perspectives are taken up by topic, including politics, economy, society, and ethnic minorities. Inherent in each topic is the way cultures see and react towards each other. Images and perspectives can affect policy, and have done so many times in the past, which adds to the importance of this book. It also takes up questions of the sources of Western perspectives, both in terms of direct sources, such as newspapers, television or the internet, and deeper ones, such as social values and temperament.

East-West trade and technology transfer have always been linked to the issue of "national security". The author identifies many different Western doctrines on East-West trade, demonstrating that two basic belief systems underly these doctrines.

The collection, interpretation and display of art from the People’s Republic of China, and particularly the art of the Cultural Revolution, have been problematic for museums. These objects challenge our perception of ’Chineseness’ and their style, content and the means of their production question accepted notions of how we perceive art. This book links art history, museology and visual culture studies to examine how museums have attempted to reveal, discuss and resolve some of these issues. Amy Jane Barnes addresses a series of related issues associated with collection and display: how museums deal with difficult and controversial subjects; the role they play in mediating between the object and the audience; the role of the Other in the creation of Self and national identities; the nature, role and function of art in society; the museum as image-maker; the impact of communism (and Maoism) on the cultural history of the twentieth-century; and the appropriation of communist visual iconography. This book will be of interest to researchers and students of museology, visual and cultural studies as well as scholars of Chinese and revolutionary art.